vendredi, septembre 11, 2009

The creation of an animated scene Part 04

I'm back from my monthly trip to Basel and found the time to do some Film work. So here we go for part 4 of the little insight in the workig process.

Now that the whole background is done, it's time to create the characters. They will have different animation-stages so we'll treat each cycle independently. First one is JFK running out from the forest's background, followed by the beast. This animation will be a loop:  Instead of a constantly evolving movement, we will have to create a set of frames that can be repeated endlessly, until we stop it. After all, the actors don't do much else in that stage of the footage than just running and this is a repeating process. Since they are still "far away" from the viewer, there's not much sense in creating a more complex acting.

First, I created a few sketches to determine the key frames of the running movement:
 
Usually, even a looping run takes much more key-frames, but this shall be a very speedy run, with fewer frames. They are really fast!
Nevertheless, these are only the keyframes: Additional frames will fill the movement between them. Key frames make sure that the artist knows where he goes with his drawing efforts and prevent unwanted evolving in a wrong movement or size. 
You will notice that the movement of the beast is really silly. That's wanted. If it were for a "normal" animal, I'd do some research on its natural movement sequence, but here, we have a "cartoony", idiotic critter which just runs like an idiot.
The keyframes are set up, its now time to draw the figures. I do it by first sketching them with a light blue pencil and then trace the lines with a black pen. The job is done on white, light (60gr) paper so that the black lines of the former drawing shines trough. When real accuracy is required, such as on faces, I use the more expensive tracing paper.
When the keyframes and the in-between frames are finished, its time to scan them in:

The raw scan isn't of course suitable for immediate processing. There are blue lines visible as well as a lot of "dirt" from the paper's structure. Some further steps are therefore needed: First, I convert the Picture in 1-bit black and white. This cleans away all the non real-black mess out. Immediately. Then I convert it back to RGB and - voilà! a clean line art!
Now, the colouring process can begin. Since black outlines are too gross, I convert the outlines of each figure in another colour. For the beast, which is black itself, I use a dark brown.
Working with Corels "replace color" feature:

Corel is my first choice when it comes to the colouring of the figures. Its several, versatile mask tools and advanced "additive-mask" feature allows bulk-colouring. I never discovered anything similar in Photoshop, which doesn't mean that it's not there. Maybe I was just too dumb to discover it. Anyway. I am plain happy with Corel for this part of the work.

Bulk masking the Beast's Body in order to colour all with just one click!





Next step is putting together the frames for the animation. To be continued...

1 commentaire:

Geier a dit…

Das ist ja eine Heidenarbeit, da hätte ich nicht die Geduld zu - und das alles für lau...